A June 2017 NRA video entitled "The Clenched Fist of Truth" used an image of "The Bean" sculpture.	2017 年 6 月，一段標題為「緊握的真理之拳」的 NRA 影片使用了《豆子》雕塑品的影像。
Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees.	安尼施·卡普爾要求 NRA 停止播放影片、支付因為影片所獲得的任何利潤、向他補償等同於每次侵權 150,000 美元的法定損害賠償，以及律師費。
The first results of the polls from the reader participation project appeared in the form of the first three short stories which resulted from direct fan involvement in the March 2004 issue of Dengeki G's Magazine.	從讀者參與專案票選得出的首批結果，以《電擊 G's 雜誌》2004 年 3 月號的直接粉絲參與所產生的前三則短篇故事形式呈現。
The stories were written by Sakurako Kimino and illustrated by Chitose Maki.	這些故事是由公野櫻子所寫，並由真城千都世加上插畫。
Over the following months, the stories continued, producing the first story arc named the Etoile Chapter (エトワール編 Etowāru-hen) containing eighteen stories which ran between March and July 2004.	故事在之後的幾個月間延續，產生名為《Etoile 之章》(エトワール編 Etowāru-hen) 的第一個故事架構，其中包含在 2004 年 3 月到 7 月間刊登的十八則情節。
Due to the concerns that there was not enough time between the Athletic Festival (an early summer event) and the Cultural Festival (an autumn event), the second, and last, story arc named the Dormitory Panic Chapter (寄宿舎パニック編 Kishukusha Panikku-hen) containing seven stories began the next month, running between August 2004 and January 2005.	因為擔心國民體育大會 (夏初活動) 和文化祭 (秋季活動) 之間的時間不足，第二個 (也是最後一個) 含有七則情節且名為《宿舍恐慌之章》(寄宿舎パニック編 Kishukusha Panikku-hen) 的故事架構次月才開始，在 2004 年 8 月到 2005 年 1 月之間刊登。
The second arc's stories, which were longer than the earlier pieces, involved taking one of the three main characters, performing coupling for them with one of the other eleven girls and presenting them in various situations.	第二個架構的故事比先前的作品更長，其中擷取了三個主角之一，將他們與其他十一個女孩之一進行配對，並在不同的情境中介紹她們。
None of the original stories were ever published again in bound volumes.	其中沒有任何原創故事曾經再次以合訂本發行。
The stories themselves were more or less vignettes, in which each gave a brief glimpse into what was referred to as a "yuri coupling".	故事本身多少都有小插曲，其中每個小插曲都讓人簡短一窺「百合配對」所指為何。
Between May and September 2005, a revised series of the short stories was produced; once per month, five more supplementary short stories were published during this time period, each of which was longer than any of the previous pieces.	2005 年 5 月到 9 月之間創作了短篇故事的修訂系列；這段期間 (每個月一次) 發行了五則額外的補充短篇故事，而且每個都比先前任一作品都長。
Although each individual story had its own title, the stories were under the collective title of "The Girls, who art in heaven".	雖然每個單獨的故事都有自己的標題，但故事都歸在「女孩，讓天堂充滿藝術」的共同標題之下。
After the ending of this short compilation in September 2005, it was decided that the original illustrator, Chitose Maki, would be replaced by Namuchi Takumi for future Strawberry Panic!	這個短總集在 2005 年 9 月結束之後，日後的《草莓狂熱！》專案就決定以巧奈夢智取代原始插畫家真城千都世
The show was hosted by Mai Nakahara, who voiced Nagisa Aoi in the anime edition, and Ai Shimizu, who voiced both Tamao Suzumi and Kizuna Hyūga in the anime.	節目由動畫版本中為蒼井渚砂配音的麻衣，以及在動畫中同時為涼水玉青和日向絆奈配音的清水愛主持。
The show contained sixty-one episodes, which were divided between three CDs; the first went on sale on March 8, 2006.	節目包含六十一集，分成三片 CD；第一片在 2006 年 3 月 8 日開始發售。
The other two releases came out on July 5, 2006, and January 11, 2007, in Japan.	其他兩個版本在 2006 年 7 月 5 日和 2007 年 1 月 11 日於日本發行。
The radio show included nine guests who had played other voice acting roles in the anime version, and Rino, singer of the opening theme "Sweetest" in the PlayStation 2 game version.	這個廣播節目包括在動畫版本中扮演過其他配音角色的九位來賓，以及 PlayStation 2 遊戲版本開場主題曲《最甜蜜》的歌手 Rino。
The Strawberry Panic!	《草莓狂熱！》
manga, written by Sakurako Kimino and illustrated by Namuchi Takumi, was serialized in Dengeki G's Magazine between September 30, 2005, and February 28, 2007, with a new chapter released once a month.	漫畫由公野櫻子所編寫，並由巧奈夢智加上插畫，在 2005 年 9 月 30 日到 2007 年 2 月 28 日之間於《電擊 G's 雜誌》上連載，每個月發行一個新的章節。
Two bound volumes have been published in Japan under MediaWorks' Dengeki Comics label.	在日本曾以 MediaWorks 的 Dengeki Comics 商標發行兩本合訂本。
The first went on sale on March 27, 2006, featuring Nagisa and Shizuma on the cover, and the second volume came out on October 27, 2006, featuring Nagisa and Tamao on the cover.	第一本在 2006 年 3 月 27 日發售，封面主打渚砂和靜馬，第二本則在 2006 年 10 月 27 日推出，封面主打渚砂和玉青。
The education system is monitored by the District Education Officer (EDO) of the City District Government of Faisalabad.	由費薩拉巴德 (Faisalabad) 市區政府的區教育長 (EDO) 負責監督教育系統。
The city government reports its findings to the Ministry of Federal Education and Professional Training and the Minister for Education.	市政府向 Ministry of Federal Education and Professional Training (巴基斯坦教育與職業訓練部) 及 Minister for Education (教育部長) 報告其調查結果。
Funding is provided by the Government of Punjab, Pakistan, City District Government and the fees collected from schools.	由 Punjab、巴基斯坦、市區政府及學校募集的費用提供資金。
There are four levels of the education system in the city: Primary, Elementary, High and Higher Secondary Level.	該市的教育系統分為四級：小學、中學、高中及高等教育。
Primary level education is only compulsory.	小學是義務教育。
There are a number of schools for the assistance of children with special needs.	有數所學校協助有特殊需求的兒童。
The Pakistan Electronic Media Regulatory Authority (PEMRA) is responsible for the regulation and monitoring of electronic media entertainment in the country.	巴基斯坦電子媒體監管局 (Pakistan Electronic Media Regulatory Authority, PEMRA) 負責監管和監控該國的電子媒體娛樂。
Pakistan Television Corporation, is the state-owned regulated television broadcasting network.	巴基斯坦電視公司 (Pakistan Television Corporation) 是國營企業且由國家監管的電視廣播網路。
The government began licensing private broadcasters in 2002.	該國政府於 2002 年開始發執照給廣播公司。
The government of Pakistan installed the first radio transmitters in the city on 15 September 1982.	巴基斯坦政府於 1982 年 9 月 15 日在該安裝了第一台無線電發射器。
"Radio Pakistan" broadcasts three government regulated FM stations: "Radio Pakistan FM101, Radio Pakistan FM93 and Radio Pakistan Sautul Qur'an Channel FM93.4. FM101 became operational in 2002, FM93 went live in 2010 and FM93.4 Sautul Qur'an Channel went live in 2016; PBC all three stations are standard power KW 2.5.	"Radio Pakistan" (巴基斯坦廣播電台) 廣播三個政府監管的 FM 電台："Radio Pakistan FM101、Radio Pakistan FM93 和 Radio Pakistan Sautul Qur'an Channel FM93.4。FM101 於 2002 年投入營運、FM93 於 2010 年開播，而 FM93.4 Sautul Qur'an Channel 於 2016 年開播；PBC 所有三個電台都使用標準功率 KW 2.5。
Pakistan Telecommunication Authority is a government-owned organisation that is responsible for the establishment, operation and maintenance of telecommunications in the city.	巴基斯坦電信管理局 (Pakistan Telecommunication Authority) 是國營組織，負責該市電信的建立、營運及維護。
The organisation monitors and prevents illegal exchanges in the city.	該組織監控並防止該市的非法交易所。
Pakistan Telecommunication Company Limited is the main provider of fixed line, mobile and broadband services.	巴基斯坦電信有限公司是市話 (固網)、行動及廣播服務的主要提供者。
Regional headquarters is located at the Central Telecom House in Chinot Bazaar.	地區總部位於 Chinot Bazaar 的中央電信大樓 (Central Telecom House )。
With the deregulation of the telecommunication sector by the Ministry of Information Technology, a range of companies now offer mobile and broadband services in the city.	隨著資訊技術部 (Ministry of Information Technology) 放鬆對電信領域的管制，現在有各式各樣的公司在該市提供行動及廣播服務。
In 2008, the Government of Pakistan lifted a forty-year ban on Bollywood films which allowed Indian films to be played in cinemas.	2008 年，巴基斯坦政府解除對寶萊塢電視四十年的禁令，允許在電影院播放印度電影。
The cinema industry has since seen the introduction of new cinemas such as Cinepax by Hotel One, and Cine Nagina.	此後，電影業推出新的電影院，例如 Hotel One 的 Cinepax 以及 Cine Nagina。
The Government College University in Faisalabad encourages students from the University of Agriculture to hold workshops and explore themes of peace and tolerance which can be used in an engaging and entertaining way to communicate complex issues to different audiences.	費薩拉巴德政府學院大學 (Government College University) 鼓勵農業大學 (University of Agriculture) 舉辦講習班，探討和平與寛容等主題，用引人入勝和娛樂方式傳達複雜的問題，讓受眾容易理解。
In its original American broadcast on March 10, 2002, "The Old Man and the Key" received a 7.9 rating, according to Nielsen Media Research, translating to approximately 7.9 million viewers.	根據尼爾森媒體研究公司 (Nielsen Media Research) 的數據，《The Old Man and the Key》在 2002 年 3 月 10 日的美國首播中，獲得 7.9 收視率，吸引大約 790 萬觀眾。
The episode ranked 19 in the top 25 most watched television programs the week it aired.	該劇集在播出當週收視率最高的 25 個電視節目中排名第 19 名。
Later in 2002, "Ode to Branson" was nominated for the Primetime Emmy Award for Outstanding Music And Lyrics, which it ultimately lost to a score from BBC's nature documentary The Blue Planet.	2002 年稍晚時候，《Ode to Branson》被提名為黃金時段艾美獎最佳音樂與歌詞獎，最終輸給了 BBC 自然紀錄片《藍色星球》(The Blue Planet) 的配樂。
In 2007, the song was included on the soundtrack album The Simpsons: Testify.	2007 年，這首歌被收錄在原聲帶專輯《辛普森一家：作證》(The Simpsons: Testify) 中。
Following the thirteenth season's release on DVD and Blu-ray, "The Old Man and the Key" received mixed reviews from critics.	在第十三季以 DVD 和藍光版發行後，《The Old Man and the Key》(老人與鑰匙) 受到了評論家的褒貶不一的評價。
Writing for Project:Blu, Nate Boss stated that Grampa "just isn't all that funny when cornered, and that's what we get here," and that "the jokes are a bit too few and far between".	Nate Boss 在為 Project:Blu 撰稿時表示，Grampa「在走投無路時並不是那麼有趣，這就是我們在這裡得到的」，並且「笑話有點太少了，而且相距甚遠」。
Giving the episode a negative review, Ryan Keefer of DVD Talk wrote that it was "borderline painful" and one of the season's "duds".	DVD Talk 的 Ryan Keefer 對這一集給予負面評價，他寫道，這是「邊緣痛苦」，也是本季的其中一個「啞彈」。
Casey Broadwater of Blu-ray.com wrote that the episode "moves at a geriatric pace", and R. L. Shaffer of IGN stated that it "represent[s] some of the worst of The Simpsons." On the other hand, giving the episode a positive review, Ron Martin of 411Mania enjoyed the "poke towards Branson, Missouri, a mecca for old people everywhere," and Jennifer Malkowski of DVD Verdict gave the episode a B rating.	Blu-ray.com 的 Casey Broadwater 寫道，這一集「以老年的步調發展」，IGN 的 R. L. Shaffer 表示，這一集「代表了《辛普森一家》中最糟糕的部分」。另一方面，411Mania 的 Ron Martin 對這一集給予推崇評價，他喜歡「戳向密蘇里州布蘭森 (Branson, Missouri)，這是各地老年人的聖地」，而 DVD Verdict 的 Jennifer Malkowski 則給這一集評為 B 級。
Colin Jacobsson of DVD Movie Guide wrote that, even though Grampa is "essentially a one-joke personality," "those gags tend to be pretty fun." He concluded his review by writing that the episode was "a likable program."	《DVD 電影指南》(DVD Movie Guide) 的 Colin Jacobsson 寫道，儘管 Grampa「本質上是個性笑話」，這些笑話往往很有趣。「他在評論的最後寫道，這一集是討人喜歡的節目。」
Despite the mixed responses, the episode features one of the "most used little clips" of the series.	儘管所獲評價有好有壞，但這一集是該系列「最常用的小片段」之一。
The scene shows Grampa getting his driver's license.	這個場景顯示 Grampa 獲得了駕駛執照。
Instead of taking a photo for the license on the spot, Grampa suggests that Selma, who works in the facility, use a photo of him from a newspaper headline that reads "Old man yells at cloud." Selma agrees, and Grampa, holding his newly acquired license, goes up to a window and yells "Who's laughing now?" at a cloud.	Grampa 建議在設施中工作的 Selma 使用報紙標題中的他的照片，上面寫著「老人對著雲大喊大叫」，而不是當場拍攝執照照片。Selma 同意了，Grampa 拿著他新獲得的執照，走到一扇窗戶前，對著雲層大喊「現在誰在笑？」。
A still from the scene has been used several times on The Daily Show.	在《每日秀》(The Daily Show) 上多次使用此場景的劇照。
Both Malkowski of DVD Verdict and Jacobsson of DVD Movie Guide considered it to be the best part of the episode.	DVD Verdict 的 Malkowski 和《DVD電影指南》(DVD Movie Guide) 的 Jacobsson 都認為這是這一集最精彩的橋段。
After Clint Eastwood's speech at the 2012 Republican National Convention, which featured Eastwood talking to an empty chair representing President Barack Obama, a modified version of the image with the caption, "Old man yells at chair", was used in an internet meme.	Clint Eastwood 在 2012 年共和黨全國代表大會 (2012 Republican National Convention) 上發表演講後，Eastwood 在代表 Barack Obama 總統的空椅子上講話，該圖像的修改版本標有標題「老人在椅子上大喊大叫」(Old man yells at chair)，被用於網際網路梗中。
The story crosses the paths of characters from various social and ethnic groups in Los Angeles.	故事與洛杉磯來自不同社會和種族群體的人物相遇。
Forty of the ensemble cast have significant speaking roles, but none takes the part of a main protagonist.	四十名群戲演員都有重要的戲份角色，但沒有演員扮演主角的角色。
The story takes place in 1989, against the backdrop of the city's racial tensions of the era and the US invasion of Panama.	故事發生在 1989 年，背景是那段時代的種族緊張局勢和美國入侵巴拿馬。
At the nominal center is a punk band called Love and Rockets, which shares its name with the English band; the punk band complains stole the name from them (the real-life band formed in 1985 and took its name from the Hernandez's comic book). The band is slated to appear at a party at the bass player's upper-class mother's home, but the performance never takes place in the story.	名義上中心是名為 Love and Rockets 的朋克樂隊，與英國樂隊同名；朋克樂隊抱怨從他們那裡偷走了這個名字 (現實生活中的樂隊成立於1985年，其名稱來自 Hernandez 的漫畫書)。樂隊計劃出現在貝斯手上流階級母親家中的派對上，但表演從未在故事中發生。
Rather, the story quickly transitions from character to character, revealing details of each one's personality traits and ethnic, class, sexual, and subcultural backgrounds.	而是，故事迅速從在角色之間輪轉，顯露每個人的個性特徵以及種族、階級、性和次文化背景的細節。
The story builds in complexity to a chaotic alcohol- and drug-fueled party in which someone almost gets killed; the turbulent narrative then calms and slows into a sequence of wordless panels that pan out into the cosmos.	故事的複雜性在於以酒與毒品為主軸的混亂派對，劇中有人幾乎被殺；然後，動蕩的敘事平靜下來，緩慢成一系列無字的畫面，一直延伸到宇宙中。
On its release, reviewer Anne Rubenstein praised Love and Rockets X for expanding the "aesthetic possibilities of graphic narrative"; she recommended it as a starting point for new Love and Rockets readers daunted by the complexity of the earlier stories, and called it "as essential as the rest of the Hernandez canon".	在發行時，評論家 Anne Rubenstein 稱讚《愛與火箭X》(Love and Rockets X) 擴展了「圖形敘事的美學可能性」；她推薦此作品作為《愛情與火箭》新讀者的起點，這些讀者被早期故事的複雜性嚇倒了，並稱它「與埃爾南德斯經典的其餘部分一樣重要」。
Comics critic R. Fiore placed Love and Rockets X 7th on his list of best English non-strip comics of the 1990s.	漫畫評論家 R. Fiore 將《愛情與火箭》排在 1990 年代最佳英國非連環漫畫排行榜的第 7 名。
He calls it "a comics equivalent of a Victor Hugo-style social novel" and praises Hernandez for successfully interweaving so many of the quasi-isolated ethnic social milieus of Los Angeles into one narrative, though he found weakness in Hernandez's grasp of their various speech patterns and suggested actual South Americans would have been more appropriate to the real political background than the fictional Palomarians.	他稱其為「相當於維克多·雨果 (Victor Hugo) 風格社會小說的漫畫」，並稱讚Hernandez 成功地將洛杉磯許多准孤立的種族社會環境融合到一個敘事中，儘管他發現 Hernandez 對他們各種說話模式的掌握有弱點，並暗示真正的南美人比虛構的帕洛瑪里亞人 (Palomarians) 更適合真實的政治背景。
Reviewer Tom Knapp considered the work "confusing" and "one of the low points" in the Love and Rockets series.	評論家 Tom Knapp 認為這部作品「令人困惑」，是《愛情與火箭》系列中的「低谷之一」。
Douglas Wolk called Love and Rockets X "the prime example of Gilbert's fascinations as a storyteller". F. Vance Neill saw it as an early example of Hernandez's concern with "the values of trust, loyalty, honesty, and community" and "the consequences of failing to adhere to these values" that he explored later in works such as Speak of the Devil (2008) and The Troublemakers (2009).	Douglas Wolk 稱《愛與火箭X》是 Gilbert「作為說故事者著迷的典型例子」，F. Vance Neill 認為這是 Hernandez 關注「信任、忠誠、誠實和社區價值觀」以及「未能堅持這些價值觀的後果」的最典型範例，他後來在《魔鬼之聲》(Speak of the Devil) (2008) 和《麻煩製造者》(The Troublemakers) (2009) 等作品中探討了這一點。
The story's Los Angeles setting anticipated that of Hernandez's post-Palomar stories featuring Luba and her family.	故事的洛杉磯背景預示著 Hernandez 在 Palomar 之後的故事，客串人物為 Luba 和她的家人。
Zeisler and Becker first described a syndrome with multiple lentigines, hypertelorism, pectus carinatum (protruding breastbone) and prognathism (protrusion of lower jaw) in 1936.	Zeisler 和 Becker 於 1936 年首次描述一種綜合症，包括多色素痣症 (multiple lentigines)、眼距過寬 (hypertelorism)、雞胸 (pectus carinatum) (突出的胸骨) 和凸頜 (prognathism) (下頜突出)。
Sporadic descriptions were added through the years.	多年來，增添零星的描述。
In 1962, cardiac abnormalities and short stature were first associated with the condition.	1962 年，心臟異常和身材矮小首次與這種病況有關。
In 1966, three familial cases were added, a mother, her son and daughter.	1966 年，又增加了三個家庭病例，母親、她的兒子和女兒。
Another case of mother to two separate children, with different paternity of the two children, was added in 1968.	1968 年又增加了母親與兩個分居子女的案例，兩個孩子的親子關係不同。
It was believed as late as 2002 that Noonan Syndrome with Multiple Lentigines (NSML) was related to neurofibromatosis type I (von Recklinghausen syndrome).	直到 2002 年，人們才認為「汝南氏症候群」(Noonan Syndrome) 伴多色素痣症 (NSML) 與 I 型神經纖維瘤 (neurofibromatosis type I) (von Recklinghausen 綜合症) 有關。
In fact, since both ICD9 and ICD10 lack a specific diagnosis code for NSML, the diagnosis code for NF1 is still sometimes used for diagnostic purposes, although it has been shown that the gene is not linked to the NF1 locus.	事實上，由於 ICD9 和 ICD10 都缺乏 NSML 的特定診斷代碼，NF1 的診斷代碼有時仍用於診斷目的，儘管已經表明該基因與 NF1 位點無關。
Hutchison married Mary Kaiakonui, a local resident of Kalaupapa, in 1881, in a ceremony blessed by Father Damien.	1881 年，Hutchison 與卡勞帕帕 (Kalaupapa) 的當地居民 Mary Kaiakonui 結婚，儀式由達米盎神父 (Father Damien) 祝福。
According to historian John Tayman, Mary may have also contracted leprosy and they had a daughter who did not suffer the same infection as her parents.	根據歷史學家約翰·泰曼 (John Tayman) 的說法，Mary 可能也感染了麻風病，他們有一個女兒沒有遭受與父母相同的感染。
Other sources claimed they were childless.	其他消息來源聲稱他們沒有孩子。
They lived at Hutchison's house, in a part of the settlement called Makanalua.	他們住在 Hutchison 的房子里，位於名為馬卡納羅亞 (Makanalua) 的定居點之一部分。
Kaiakonui cared for her husband as his mea kōkua (caregiver) until her death on May 16, 1905, at the age of forty-seven.	Kaiakonui 以 mea kōkua（照顧者）之姿一直照顧她的丈夫，直到她於 1905 年 5 月 16 日去世，享年四十七歲。
She was buried in the Catholic section of Papaloa Cemetery and a white bronze grave monument marks her final resting place.	她被埋葬在帕帕洛亞公墓 (Papaloa Cemetery) 的天主教區，一座白色青銅紀念碑標誌著她最後的安息之地。
His brother's descendants believe that he could be buried next to his wife.	他哥哥的後代認為，他可以被埋葬在妻子旁邊。
Members of his family were present at the 2009 canonization of Father Damien in Rome.	他的家人出席了 2009 年在羅馬舉行的達米盎神父封聖儀式。
In his incomplete will, Hutchison expressed his love for his mother, his wife and the dwindling Hawaiian race:	Hutchison 在他的不完整遺囑中，表達了他對母親、妻子和日益減少的夏威夷種族的愛：
For the love and affection I hold for my mother, Maria Mo-a, and Maria Kaiakonui, my wife (deceased), who were of the pure Hawaiian aboriginal ancestry, from whom sprung from and hold dear and my heart longing desire to perpetuate their race from extinction which forecasting shadow of time forbode their doom, which only the power of a mercifull and all loving God can stay, from the evident fate which await them and leaving firm faith in the love and mercy of God, who alone can save and perpetuate and multiply from being effaced from the land, which, by His grace he gave to their forefathers and foremothers and their descendants as a heritage forever and to this end and purpose, I consecrate my worldly estate both real, personal or mixed.	因為我對我的母親 Maria Mo-a 和我的妻子 Maria Kaiakonui（已故）的愛和感情，他們是純正的夏威夷原住民血統，從他們那裡萌芽並珍視我心中渴望將他們的種族從滅絕中永久化，預測時間的陰影預示著他們的厄運，只有憐悯的力量和所有慈愛的上帝才能留下來，從等待他們的明顯命運中，留下對上帝的愛和憐悯的堅定信念，只有上帝才能拯救、永續和繁衍，以免從這片土地上消失，他將他的恩典作為遺產永遠賜給他們的祖先、祖母和他們的後代，並且為此目的，我將我的世俗資產奉獻給真實、個人或混合。
Described as a "dapper young man with a moustache waxed into long points", he made for a "dynamic figure with a penetrating voice", and was noted for riding his Douglas motorcycle through the 1920s and 30s in his khaki overalls as he traveled between his professional practice, teaching duties and home life.	他被描述為一個「鬍子打成長點的輕快年輕人」，他塑造了一個「具有穿透力的動態人物」，並以在 1920 年代和 1930 年代穿著卡其色工作服騎著道格拉斯摩托車而聞名，因為他在他的專業實踐、教學職責和家庭生活之間遊刃有餘。
On the home front, Louis Laybourne Smith married Frances Maude Davies, the daughter of Edward Davies to whom he had been articled, on 9 April 1903.	在家庭方面，Louis Laybourne Smith 於 1903 年 4 月 9 日與 Edward Davies 的女兒 Frances Maude Davies 結婚。
They had three daughters and a son, Gordon Laybourne Smith, who ultimately followed his father into architecture.	他們有三個女兒和一個兒子 Gordon Laybourne Smith，他最終跟隨父親進入了建築界。
Laybourne Smith "consistently overworked"; architecture was said to be both his profession and his obsession.	Laybourne Smith「一直過度勞累」；據說建築既是他的職業，也是他的癡迷。
When his firm announced a retirement scheme he declared that he had no intention of retiring, and such proved to be the case—he died at his desk on 13 September 1965 at the age of 85.	當他的公司宣佈退休計劃時，他宣佈他無意退休，事實證明確實如此，他於 1965 年 9 月 13 日在他的辦公桌上去世，享年 85 歲。
Despite enjoying her career in the adult film industry, Samson had other ambitions.	儘管 Samson 很享受在成人電影業的職業生涯，但她還有其他的抱負。
In 2005, while on vacation in Tuscany, Italy, she decided she could "leave a mark on this world" by making wine.	2005 年，在義大利托斯卡納 (Tuscany, Italy) 度假時，她決定通過釀造葡萄酒來「在這個世界上留下印記」。
Then married to a wine merchant,she had frequently traveled to Italy and France, and often fantasized about owning her own vineyard.	後來嫁給了一位葡萄酒商人，她經常去義大利和法國旅行，並經常幻想擁有自己的葡萄園。
When she was a child, she had helped her family make wine in the basement of their house in Watertown, New York.	當她還是個孩子的時候，她曾協肋她的家人在紐約沃特敦 (Watertown, New York) 的房子的地下室釀酒。
She formed the company, Savanna Samson Wines, and asked Italian winemaker and consultant Roberto Cipresso to help find a blend of grapes local to Tuscany that would produce her ideal flavor.	她成立了 Savanna Samson Wines 公司，並要求義大利釀酒師和顧問 Roberto Cipresso 協肋找到托斯卡納當地葡萄的混合，以調和出她的理想風味。
They eventually chose a mixture of 70 percent Cesanese, 20 percent Sangiovese and 10 percent Montepulciano, which produced a red wine that she named Sogno Uno, meaning 'Dream One.' Its label played on Samson's notoriety as a porn star, featuring a side view of her wearing only a see-through gown and high heels.	他們最終選擇了 70% 的 Cesanese，20% 的 Sangiovese 和 10% 的 Montepulciano 的混合物，這釀出一種紅酒，她將其命名為 Sogno Uno，意思是「夢想一號」。它的標籤在色情明星 Samson 的惡名上發揮了作用，側視圖顯示她只穿著透明禮服和高跟鞋。
Wine critic James Suckling gave Sogno Uno a rating of 75 out of 100, and described it as "barely drinkable".	葡萄酒評論家 James Suckling 給 Sogno Uno 的評等是 75 分 (滿分 100 分) ，並形容它「幾乎不能飲用」。
A gala launch was held for the wine at a Manhattan restaurant on February 27, 2006.	2006 年 2 月 27 日，在曼哈頓的一家餐廳舉行了葡萄酒發佈會。
By June 2007, her company had produced two more wines.	到 2007 年 6 月，她的公司又生產了兩款葡萄酒。
A limited edition of MCMXC a.D. was released on 4 November 1991 with four remixed tracks.	限量版《MCMXC a.D》於 1991 年 11 月 4 日發行，有四首混音曲目。
The original part of the album blends into the first of the four additional tracks, and each of the additional tracks also blend into each other.	專輯的原始部分融合到四首追加曲中的第一首，每首追加曲也相互融合。
This gives the album a sense of continuation from start to finish.	這賦予整張專輯融合的延續感。
One of the remixes, The Returning Silence of The Rivers of Belief, does not appear on any of the singles.	其中一首混音作品《The Return Silence of The Rivers of Faith》沒有出現在任何單曲中。
The November 1999 reissue includes six remixed tracks on a second disc.	1999 年 11 月的再版包括第二張唱片中的六首混音曲目。
In March 2016 a numbered Limited Edition was released on Hybrid SACD in Hong Kong.	2016 年 3 月，編號的限量版在香港的 Hybrid SACD 上發佈。
Janet B. Blundell, in Library Journal, finds Angelou's poetry lacking in comparison to her prose, and states, "The reader is jarred by stilted, 'poetic' language and stilted, sing-song, school-girlish rhyme".	Janet B. Blundell 在圖書館學刊的文中指出，安傑洛的詩缺少和她的散文與相比的比較，還說「讀者被高調、如詩的語句，以及高調、如歌、女學生的韻律所震撼。」
She finds the best poems in Shaker are the ones that are structured like blues music.	她指出搖床詩集中最好的詩，結構都像藍調音樂。
Mary S. Cosgrove, in Horn Book Magazine, calls the poems in Shaker "a lyrical outpouring of seasoned feelings from the heart and mind", and calls Angelou "musical, rhythmical, and enchanting".  J.T.	在 Horn Book 雜誌中，Mary S. Cosgrove 說搖床詩集中的詩是「一種來自心靈深處成熟情感的抒情釋放」，也說安傑洛富有「音樂性、節奏感，十分迷人」 J.T.
Keefe, in World Literature Today, says about Shaker": "Deceptively light and graceful, Maya Angelou's poems are lyrical, emotional, melancholy".	Keefe 在今日世界文學中提到搖床詩集時說：「Maya Angelou 的詩很輕柔、優雅、抒情、充滿情感、憂鬱。」
Keefe compares Angelou's poems to music, especially the music of French singer Édith Piaf, and also states, "These poems are full of shining hurt as, like curving scimitars, they skillfully pierce the hearts of their readers".	Keefe 將 Angelou 的詩與音樂相比，特別是法國歌手 Edit Piaf 的音樂，並說：「這些詩充滿了閃亮的傷害，就像把彎彎的剪刀一樣，十分技巧地刺穿了讀者的心。」
In a commentary made for the 1980 anthology, The Golden Man, Philip K. Dick briefly touched on several themes of the story, including the Christian allegory of the "suffering servant", manifested in the character of Bors.	在一段 1980 年作品選集「黃金單身漢」的評論中，Philip K. Dick 簡短地觸及故事中的多個主題，包括以 Bors 這個角色來展現的「受苦的僕人」基督教比喻。
This was touched upon in the Dick biography Divine Invasions, by memoirist and biographer Lawrence Sutin.	在由傳記作家 Lawrence Sutin 撰寫的 Dick 傳記 Divine Invasions 中提到了這點。
Drawing on Dick's commentary, Sutin sees Bors as part of a religious pattern in Dick's stories as a "Christ-like robot", and likens the robot to characters in other stories by Dick who suffer from illness.	提及 Dick 的評論時，Sutin 將 Bors 視為 Dick 故事中一個「有如基督的機器人」的宗教部分，把該機器人連結到 Dick 其他故事中因病所苦的角色。
